Canadian driver Gilles Villeneuve emerged on the scene like a comet in the mid-70s. He won multiple Formula Atlantic championships and his skill and car control were extraordinary, earning him a legion of fans. In the era, the annual Formula Atlantic race at Trois-Rivires included star drivers from Europe brought in by the promoters. For the 1976 race McLaren driver James Hunt was invited to participate. After a weekend observing and losing to the young Canadian, Hunt returned to Europe singing Villeneuve's praise. McLaren team principle, Teddy Meyer added a third car to the team entry for the '77 British Grand Prix and Europe got to witness Villenuve's ability. For some inexplicable reason McLaren passed on Villeneuve, but Ferrari needed a replacement for Lauda and late in the season Gilles was a driver for Scuderia Ferrari. It took Villeneuve a while to settle in and for a period he was in danger of losing his Ferrari drive, but all came good at the '78 Canadian GP and Gilles took his first victory. South African join Ferrari as team leader for the '79 season and when the Scuderia introduced the 312T4 at the South African grand prix the driving duo went on a tear. The team's home race at Monza ended with a Ferrari 1-2 and Scheckter being crowned the season's driver champion. With championships won the grand prix circuit moved on to the 2 North American races. When the cars were let loose for the Friday practice session the circuit was soaked and the rain unrelenting. Villeneuve finish the afternoon session 9 seconds ahead of the second place driver.
Gilles captures Gilles Villeneuve driving the Ferrari 312T4s in Turn 7 during the '79 US GP East at Watkins Glen. Villeneuve won the race, his third of the season and earned him second in the 1979 World Driver Championship 4 points behind teammate Jody Scheckter.
The original image was shot on Kodachrome 64 film.
There are 3 types of prints offered, each in multiple sizes. There are 2 paper print options using Hahnemuhle Fine Art paper.
Option 1 is printed on Baryta paper. It is a bright white, cellulose-based Fine Art paper. Baryta is an acid and lignin-free, 325 gsm and 100% α-cellulose paper that conforms to ISO 9706 for museum quality and highest age resistance.
Option 2 is printed on Fine Art Photo Rag Metallic paper. Metallic is a silvery-shimmering Fine Art paper with a specially formulated coating for Fine Art use. The natural white cotton paper contains no optical brighteners and has the characteristic Photo Rag surface structure and sumptuous feel. Metallic is an acid and lignin-free, 340 gsm and 100% cotton paper that conforms to ISO 9706 for museum quality and highest age resistance.
Both Hahnemuhle Fine Art paper prints are shipped unframed and are ready for matting and framing.
Option 3 is a dye sublimation printed on aluminum with a glossy finish. The Aluminum print has a high-gloss white finish that bright colors and high image definition. Prints are shipped with a float mount hanger mounted 2in inside the rear of the print.
Although the aluminum print is more expensive, it is delivered ready to hang and there is no additional framing cost.
